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IFIVE CENTURIES
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The Cooper Union Centennial Exhibition

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Selected and arranged by The Cooper Union Museum

Circulated by The American Federation of Arts

i959-!9 61

COVER ILLUSTRATION: Catalogue Number 42

The American Federation of Arts, with headquarters at 108] Fifth Avenue, New York
City, is a national, non-profit, educational organization, founded i<)OQ in Washington, D.C.
and incorporated ipi6 in the State of New York. It is composed of chapter, individual, and
corporate members. The purpose of the Federation is to cultivate the appreciation and foster
the production of art in America. This is carried out through a program of activities
including traveling exhibitions, publications, national and regional conferences and con-
sultation services.

y c f LJt cznturits of &rci-jj>na,

2-5 ~ C 0n\oo ftr 4e Advancement of Sclent dnJ Art

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LlBRARlES^^

In celebration of the centennial of The Cooper Union, The Cooper Union Museum
for the Arts of Decoration has organized this exhibition, comprising one hundred frames
of drawings chosen from some twenty-five thousand in the Museum's collection. The
specific selection will confirm the general notion that has got abroad over the years —
that there are many drawings in the Museum — and, more than this, it will show some-
thing of the unparalleled variety of subject-matter to be found here. The study of a
collection of such range has naturally required some length of time, and as has happened
in other museums, organization and detailed examination bring to light unexpected
treasures.

Taken by itself, the phrase "decorative arts" conveys little enough; but when one
sees these designs for architecture, sculpture, engraving, book ornament, metalwork,
interior design, textiles and painting, pictorial and decorative, one can form a clearer
idea of the kinds of drawings that the Museum has collected and is interested in con-
tinuing to collect, of past and present artistic creation.

This collection was originally inspired by the organization of the Musee des Arts-
Decoratifs in Paris. Peter Cooper's granddaughters, the Misses Sarah Cooper Hewitt and
Eleanor Gamier Hewitt, travelling abroad in the 1880's and early 1890's, determined
to pattern their personal collecting upon it, but focused their attention upon the acquisi-
tion of books, drawings and prints pertaining principally to the French 18th century, a
period they discerned as sadly neglected in our country at this time. With a collecting
zeal comparable to that of the brothers de Goncourt, the quality of their own early
acquisitions was so encouraging that they proceeded in 1895 to found The Cooper Union
Museum for the Arts of Decoration, which is still today unique in the United States.

From its founding, the expansion of the Museum's collection of drawings has been
well favored. In 1900 the Museum was able to purchase a large portion of the Giovanni
Piancastelli collection in Rome. In 1911, with the help of generous contributions from
public-spirited New Yorkers, the Hewitts were able to purchase the entire collection of
French ornamental drawings formed by the Sevres architect, Leon Decloux, son of the
maitre-serrurier to Louis Philippe. In 1938 the balance of the Piancastelli collection,
with some exceptions, was made available for purchase by Mrs. Edward D. Brandegee,
whose husband had acquired it in Rome shortly after the Museum's initial purchase. In
this way the preponderant share of the original collection pertaining to the Italian
decorative arts from the 17th to the 19th centuries — including no less than a thousand
items from the oeuvre of Valadier and of Giani — was reunited.

The outstanding collection of over seven thousand American drawings, which con-
tains the major portion of the graphic works of Church and the largest single concentra-
tion of Homer's drawings, is composed mainly of gifts from various artists themselves,
or from their heirs. It is indeed remarkable that nearly the entire collection of drawings
has come to the Museum either through the generosity of the individual owners or
through funds contributed by The Friends of the Museum and its forerunner, the Council
for the Museum.

Like any other assemblage of drawings representing five centuries, the present
exhibition offers a variety of elements for examination. Some viewers may be interested
in physical differences — the variety of media that appear here, and the great range in
modes of draftsmanship. Others, overlooking entirely the relationship between medium

and expression, will be primarily interested in the subject-matter and its relationship
with the cultural life of the succeeding centuries. Still others perhaps will find their
greatest interest in the clarity with which decorative designers have so succeeded in
crystallizing their concepts that the executant could proceed with full comprehension
of his part in the final realization.

But whatever be the nature of the onlooker's own interests, this exhibition is pre-
sented in the hope that the quality of these drawings, so unlike those of more familiar
types, will give pleasure and will serve as a reminder of the further pleasures that await
the welcome visitor to The Cooper Union Museum.

Richard Paul Wunder
Curator of Drawings and Prints

Special thanks are due Mr. Calvin S. Hathaway, Miss Cornelia J. Henry, and Mrs.
Olga Berendsen, of The Cooper Union Museum, for the irnportant part they have played
in the preparation of the material and the catalogue for this exhibition.

This catalogue is arranged chronologically, as far as possible, by date of drawing
within country. The carrier for all drawings is understood to be white paper unless other-
wise indicated. In measurements, height precedes width. The bibliography given is only
that which refers specifically to the drawing in question; listings in exhibition catalogues
are not here recorded. The abbreviation "C.U.M." refers to Cooper Union Museum
publications.

Catalogue

Catalogue Number I

ITALY

1 Benozzo Gozzoli (1420-1497), Attributed to

SKETCH OF A CLASSICAL STATUE OF THE VENUS PUDICA TYPE

Silverpoint heightened with white on prepared paper. 6% x 3% in. (172 x 092 mm.)

Coll.: Piancastelli
Once possibly part of a sketchbook (of about 1475) that included other copies of antique
sculpture, this drawing may represent a Hellenistic statue seen by the artist in the Medici
collection in Florence.

Bibl.: C.U.M. Chronicle, Vol. II, No. 4, 1952, p. [96]; A. Mongan, One Hundred.
Master Drawings, 1949, p. 18; C.U.M. Illustrated Survey, 1957, p. 14.

;

2 Nicolelto Rosex da Modena (active 1500- about 1507), Attributed to

DESIGN FOR A BRONZE CANDLESTICK BASE

Pen and ink. 10J16 x 7% in. (262 x 194 mm.)
The attribution of this drawing is based on similarities with Nicoletto's engravings and a
group of his drawings divided between the British and the Victoria and Albert Museums.
His art contributed to the establishment of High Renaissance ornament design in Venice.

3 Unknown Florentine Artist (about 1540-1550)

DESIGN FOR A FOUNTAIN

Black chalk. 17 x lo^iein. (432 x 275 mm.)
Coll.: Sir Joshua Reynolds

An inscription, possibly 17th-century, gives an overly ambitious attribution for this draw-
ing to Baccio Bandinelli (1493-1560). The curious complexity of the design suggests that
it might have been intended for a temporary, possibly indoor, structure.

4 Francesco Salviati (1510-1563)

STUDY FOR THE 'ALLEGORY IN HONOR OF RANUCCIO FARNESE'

Pen and ink with bistre wash and white heightening. 854 x io%in.(2o6 x 260 mm.)

Coll.: Piancastelli
The fresco itself, in the Palazzo Farnese, Rome, was completed by Taddeo Zuccaro, about
1553, after Salviati's designs. The allegory shows the founding member of the family
receiving the banner of the Church from Pope Eugenius IV. This working drawing, that
includes overlays by Salviati, is quite different from the composition as completed. Other
drawings for the scheme are at Windsor Castle.

5 Unknown Artist (possibly North Italian) (active about 1 550)
DESIGN FOR A TABLE DECORATION

Pen and ink with bistre wash. 14 x 1 1 1 ^ in. (356 x 304 mm.)
Coll.: Mariette; van Suchtelen; Decloux

Considered the most important single item of table furniture, the salt for centuries was
featured in elaborate form. Sometimes it was set off architecturally, as is indicated here,
by columns joined by twisted ribbons.

6 Girolamo da Carpi (1501—1556)
SKETCHES OF CLASSICAL SCULPTURE

Pen and brown ink. 10% x 7% in. (257 x 187 mm.)
Coll.: P. Huart; Hugh Cassel

Strongly influenced by classical antiquity during his sojourn in Rome in the early 1550's,
da Carpi filled a number of sketchbooks with drawings of sculpture and grotteschi. This
sheet, drawn on both sides, probably comes from one of these books, some of which were
dismembered in the 18th century.

7 Francesco da Sangallo (1494-1576), Attributed to
DESIGN FOR THE TOMR OF A MEDICI CARDINAL

Pen and brown ink with brown wash. 1 ljii x 7^6 in. (294 x 192 mm.)
Coll.: Piancastelli

Son of the famous Florentine architect, Girolamo da Sangallo, Francesco executed tombs
and other sculpture for the Medici family in Florence, Rome and Monte Cassino Abbey.
Perhaps this design was intended for the tomb of the ill-fated Cardinal Giovanni de' Medici
(died 1562).

8 Bernardo Sozi (or Sotij) di Vincenzo (active 1573-1603)

PROPOSED ADDITIONS TO A CENTRAL PLAN CHURCH

Black chalk, pen and ink with bistre wash. 13% x 10% in. (353 x 267 mm.)
Coll.: Piancastelli; Brandegee

Designs by provincial Italian 16th-century architects are rare. Sozi seems to have worked
exclusively in Perugia, and he undoubtedly knew Bramante's work in that region. This
scheme, of 1573, might relate to additions proposed but never carried out for the octagonal
Romanesque church of S. Ercolano, at Perugia.

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9 Unknown Florentine Artist (active about 1575)

DESIGNS FOR SALT CELLARS

Pen and ink with bistre wash (mounted). A: 2 1 ^6 x 5% in. (071 x 130 mm.);

B: 2% x 5% in. (073 x 139 mm.) (mount)

Coll.: J. Richardson; Earl Spencer; Destailleur; Decloux

These designs are by a silversmith contemporary with Benvenuto Cellini (1500—1570),
who, like him, had a taste and ability to handle bizarre and fantastic forms to meet the
vogue of the day.

--,'"111 ■ s

Catalogue Number 10

10 Antonio Gentili (1551/2-1609)

SKETCH FOR THE BASE OF THE SILVER CRUCIFIX FOR THE HIGH
ALTAR OF ST. PETER'S, ROME

Pencil, pen and ink with bistre wash. 19%
Coll.: Piancastelli; Brandegee

13 in. (492 x 330 mm.)

Following a scheme originally set by Michelangelo, Gentili carried to completion the work
commissioned by Cardinal Alessandro Farnese in 1578, even adapting his design to accom-
modate the existing figures of slaves. The finished object (now in the Treasury of St. Peter's)
was put in place in 1582.

Bibl.: R. Berliner, in The Art Bulletin, 1951, pp. 51-52; C.U.M. Chronicle, Vol. II,
No. 4, 1952, p. [97]; C.U.M. Illustrated Survey, 1957, p. 16.

11 Monogrammist FAS (active about 1558-1620)

DESIGNS FOR ENGRAVED GUN PLATES

Black chalk, pen and ink with grey and yellow watercolors (mounted). 8 ] / 8 x 10%
in. (206 x 260 mm.) (mount)
Coll.: Piancastelli; Brandegee

Elaborately-engraved gun plates were extensively used on firearms during the 16th and
17th centuries. The two great centres of gun production in Italy were Brescia, in the North,
and Naples, in the South. To judge from their stylistic qualities, these designs were prob-
ably intended for Brescian pieces.

Catalogue Number 12

12 Domenico Passignano (1560-1638), Attributed to

NUDE CHILD SUPPORTING AN ESCUTCHEON

Red chalk, pen and bistre ink with grey wash. 6% x 8 7 /n in. (162 x 214 mm.)
Coll.: Piancastelli; Brandegee

Passignano was employed both in his native Florence and in Rome by the Medici; he was
also active as a decorative painter in Venice and elsewhere in Northern Italy. This lively
and deftly executed sketch suggests a detail for a decorative scheme.

13 Remigio Cantagallina (active 1582-1635)

FANTASTIC LANDSCAPE WITH SCENES FROM THE OLD AND NEW

TESTAMENTS

Pencil, pen and ink with bistre wash (mounted). 12% x 16% in. (312 x 425 mm.)

(drawing)

Coll.: Piancastelli

Incorporated into this curious composition, possibly taken from an apocalyptic vision by
one of the writers of the Early Church, are Mount Sinai, Jerusalem, Nazareth and Beth-
lehem. Cantagallina worked in close association with Stefano della Bella and Giulio Parigi,
designing settings for theatrical performances given by the Medici in Florence.

14 Lucio Massari (1569-1633)

DESIGN FOR A CEILING PAINTING

Black chalk, pen and ink with watercolors and white heightening. 10 x g lb /n in.

(254 x 252 mm.)

Coll.: Nahl; Hewitt

A popular decorator of palaces in Bologna during the early 17th century, Massari went to
Rome in the train of the Carracci to work in the Palazzo Farnese. The ceiling for which this
drawing is the study has not been identified, but it probably antedates Massari's trip to
Rome, about 1609.

15 Unknown Italian or French Artist (early 17th century)
ACANTHUS RINCEAUX WITH ANIMALS AND BIRDS

Pencil, pen and ink with brown wash and white heightening. 1 1 % x 13K6 in.
(282 x 351 mm.)
Coll.: Decloux

It is extremely difficult to place the exact origin of such an ornamental design as this.
Its rich foliage and introduction of living creatures would suggest the design to be for carved
woodwork, and if so, is admirably conceived.

16 Guido Reni (1575-1642)
STUDY OF A NUDE YOUTH

Black crayon with white heightening on grey-brown paper. \QYu x g'^6 in. (420

x 252 mm.)

Coll.: Piancastelli; Brandegee

Evidently a study either for the Samson (Bologna), dated about 1610, or the Rape of
Dejanira (Louvre), dated 1610—1621, or for both paintings, Reni seems to have employed
the same model on a number of other occasions. The artist's particular concern here was in
the rendering of highlights on the human form by means of white chalk.
Bibl.: M. Jaffe, in Paragone, 1954, pp. 5—6.

17 Giulio Parigi (about 1570-1625), Attributed to
DESIGN FOR A MEDICI FUNERAL CELEBRATION

Red chalk. 8% x 7% in. (216 x 190 mm.)
Coll.: Piancastelli; Brandegee

Parigi designed a number of Medici funeral ceremonies, habitually held in San Lorenzo,
Florence. This drawing might relate to that honoring Cosimo II de' Medici (died 1621).
The church represented, not San Lorenzo, might be another in Florence or the vicinity.
State funerals were public occasions surrounded by a degree of pomp and ceremony seldom
duplicated in our own day.

18 Andrea Sacchi (1599-1661)

STUDY FOR A CEILING DECORATION FOR THE PALAZZO BARBERINI,

'DIVINE WISDOM'

Black and red chalks, pen and ink with bistre wash and white heightening. 1254 x

13% in. (312 x 333 mm.)

Coll.: Piancastelli

The subject of this fresco in the Palazzo Barberini, Rome (of about 1629—1633), is taken
from the Wisdom of Solomon (vi:22). By his classical simplicity. Sacchi is recognized as the
Italian counterpart of Poussin, and with Pietro da Cortona and Baciccio, was one of Rome's
leading painters. Drawings by him for important commissions are rare.

19 Giuseppe Cesari (called Cavaliere d'Arpino) (1568—1640)
SKETCHES FOR A 'FLAGELLATION OF CHRIST'

Red and black chalks. 'f^iz x 6% in. (202 x 155 mm.)
Coll.: Piancastelli; Brandegee

Cesari is considered the last of the Mannerists. Certainly this sheet of sketches signals the
Baroque, though embodied in it, as well, is the classical tradition of Michelangelo and
Raphael.

Bibl.: C. de Tolnay, History- and Technique of Old Master Drawings, 1945, No. 96;
H. Tietze, European Master Drawings in the United States, 1947, No. 48.

20 Giovanni Francesco Barbieri (called Guercino) (1591-1666)

STUDY OF FOUR FIGURES

Pen and bistre ink with bistre wash. 8 x ioy 2 in. (203 x 267 mm.)
Coll.: Peoli; Hewitt

In his drawings Guercino renders the complicated calligraphic line with crystalline clear-
ness, and by means of the washes molds the shapes as well as the chiaroscuro in a manner
similar to that employed by Tiepolo in the next century. Many of his drawings, in the ab-
sence of close relationship to his paintings, present subjects that are not easily identified.

21 Giovanni Benedetto Castiglione (about 1600-1665)

CARAVAN AT REST NEAR A HERM

Pen and bistre ink with bistre wash. 16% x io 7 / 8 in. (416 x 276 mm.)

Coll.: Piancastelli; Brandegee
The correct interpretation of Castiglione's drawings is not always clear, as in this example.
The pictorialism and marked freedom in delineation of this drawing suggest that it was
done in Rome, shortly after 1640, when the artist fell strongly under Poussin's influence.

22 Unknown Mantuan Artist (mid- 17th century)

STAGE DESIGN: COURTYARD OF A PALACE

Pencil, red chalk, pen and bistre ink. 13 x I7 1 fi6 in. (550 x 456 mm.)

Coll.: Piancastelli; Brandegee
The arms of the Duchy of Mantua establish the place of origin of this set, generally a diffi-
cult task, as set designers were bound by rules to follow established patterns of design.
This spectacle shows some classical theme, for in the clouds are the figures of Athena and
Apollo. Red chalk for the mise-en-scene is an interesting vehicle by which it is set off from
the proscenium.

Bibl.: C.U.M. Chronicle, Vol. I, No. 8, 1941, p. [284]; J.Scholz, Baroque and Roman-
tic Stage Design, 1950, No. 19.

23 Unknown Roman Artist (active about 1660-1670)

DESIGN FOR A LOGGIA

Pencil, pen and. bistre ink with bistre wash. 13% x io'Ks in. (350 x 278 mm.)

Coll.: Piancastelli; Brandegee
The form of the loggia is similar to that constructed across the narrow end of the Palazzo
Borghese, in Rome, after the design of Carlo Rainaldi (161 1-1691). This drawing is prob-
ably not by Rainaldi, however, but by a contemporary architect undoubtedly familiar
with his work.

24 Marco Antonio Franceschini (1648-1729)

SCENE FROM THE LIFE OF ST. CATERINA VIGRI
Black chalk, pen and ink with bistre wash. 8'/ 4 x lo'Me in. (210 x 278 mm.)
Coll.: Piancastelli; Brandegee
This design, one of several in the Cooper Union Museum's collection for the monochrome
decorations of the church of Corpus Domini, in Bologna, dates from 1687 to 1694. One
episode in the life of this saint, patroness of the city of Bologna, was that she suddenly
took to playing the violin, which she had never before touched; the miniature instrument
shown in this drawing is preserved today in her church.

25 Carlo Antonio Buffagnotti (about 1660-about 1710)

A FANTASTIC GARDEN

Pencil, pen and brown ink. i3 7 / 8 x io}{ ( in. (355 x 255 mm.)

Coll.: Piancastelli; Brandegee
Buffagnotti combines in his drawings the theatricality of Ferdinando Bibiena, whose pupil
he was, with the precise linear quality of Stefano della Bella. The inscription on this draw-
ing suggests it to be a view, perhaps somewhat idealized, of the artist's own garden.

Catalogue Number 28

26 Filippo Juvarra (1678-1736)

DESIGN FOR THE INTERIOR DECORATION OF A CHURCH DOME
Pencil, pen and ink with bistre wash. 6% x 7^6 in. (165 x 186 mm.)
Coll.: M. Mayr; Janos Scholz
This drawing may relate to any one of a number of Juvarra's designs for churches. Un-
doubtedly Italy's greatest 18th-century architect, Juvarra had the great opportunity of
carrying to completion many of his grandiose building schemes commissioned by the King
of Sardinia. This design may antedate his appointment as Royal Architect in 1714.

27 Francesco Fontebasso (1709-1768/9)

ALLEGORY OF 'SCULPTURE'

Black and red chalks. 7% x 8 7 / 8 in. (181 x 225 mm.)

Coll.: Hewitt
This drawing, perhaps the study for a projected engraving, shows close affinities to Fonte-
basso's cupola decorations in the church of the Annunziata, at Trento, dated 1736-1737.
In these works the artist was strongly influenced by Tiepolo's figural types.

28 Giovanni Battista Tiepolo (1696-1770)

THE ANNUNCIATION

Black chalk, pen and bistre ink with bistre wash. 1614 x 11% in. (413 x 288 mm.)

Coll.: Marmontel; Hewitt
The heavy forms and manipulation of the washes that produce a strong chiaroscuro suggest
a date for this drawing about mid-point in the artist's career. It appears not to be a study
for any known painting or etching.

Bibl.: O. Benesch, Venetian Drawings of the Eighteenth Century in America, ~*§£7,
No. 17; H. Tietze, European Master Drawings in the United States, 1947, No. 88; C.U.M.
Illustrated Survey, 1957, p. 27.

29 Giovanni Battista Tiepolo (1696-1770)

DESIGN FOB A DEDICATION PAGE TO CHABLES III, KING OF NAPLES
Black chalk, pen and bistre ink with bistre wash (mounted). 14^16 x g l f{s in. (356 x
250 mm.) (drawing)
Coll.: Hewitt

This dedication page (engraved in Venice by Volpato) is for a book on the ruins of Paestum,
commissioned by the King and published in Bassano in 1770. The inscription, in Spanish,
suggests that the drawing was done during Tiepolo's sojourn in Spain (1762—1770).

30 Francesco Guardi (1712-1793)

DECOBATIVE CABTOUCHE WITH A LANDSCAPE

Black chalk, pen and ink with watercolors and white heightening. 16% x 27% in.

(419 x 689 mm.)

Coll. : Earl of Warwick; Baimundo de Madrazo; Hewitt

Possibly a study for a detail of a painted ceiling cove, Guardi made a number of similar
sketches, though of smaller size (Museo Correr, Venice). The right portion is a skillful
completion of the composition by another hand on an additional sheet of paper.

Bibl.: C.U.M. Chronicle, Vol. I, No. 5, p. 198; O. Benesch, Venetian Drawings of
the Eighteenth Century- in America, 1947, No. 62; B. Berliner, in The Art Bulletin, 1951,
PP- 53-55-

31 Carlo Marchionni (1702-1786)

DESIGN FOB A CATAFALQUE HONOBING CHABLES EMANUEL III.
KING OF SABDINIA

Pencil, pen and bistre ink with sepia wash, lg^is x 13 in. (500 x 330 mm.)
Coll.: Piancastelli

Probably erected in Borne in honor of the Savoyard monarch, who died in 1773,
this elaborate temporary structure was devised by one of the most able Roman architects
of the day. Carlo, and his brother, Filippo Marchionni, received many commissions from
the powerful Albani family of which this might have been one.

32 Nicola Fiore (active 1775)

DESIGN FOR A WALL DECORATION OF THE BOYAL PALACE AT
CASERTA

Pen and ink with watercolors. 241/2 x 21 '/ 2 in. (623 x 546 mm.)
Coll.: Piancastelli; Brandegee

Begun by Charles III, King of Naples, in 1752, the palace was ready for Royal occupancy
by 1769. The decoration for which this drawing is the study must have been among the
last works carried out as originally planned by Charles's successor, Ferdinand I. By its date
this drawing is documentary evidence that the Chinese style must still have been in vogue
in Italy as late as 1775.

"Bibl.: C.U.M. Chronicle, Vol. II, No. 4, 1952, p. 104.

33 Felice Giani (about 1760—1823)

DESIGN FOB A PAINTED WALL DECOBATION

Pen and bistre ink with watercolors. 20*16 x 11% in. (513 x 295 mm.)
Coll.: Piancastelli

Giani's most important private undertakings were the decorations of the Palazzo Altieri.
in Borne, and of palaces in Forli and in his native Faenza. He is chiefly noted for his enor-
mous output of ornamental and figure drawings in the strongly neo-classic vein that by
his time was common property in Europe.

Bibl.: E. Modigliani, in L'Arte, 1900, pp. 20-21.

Catalogue Number 3 6

34 Domenico Mondo (died 1806)
AN AUDIENCE SCENE

Pencil and brown wash. 4^6 x 6?^6 in. (110 x 157 mm.)

Coll.: Piancastelli; Brandegee
One of the forgotten minor painters of the late 18th century in Naples, Mondo, like Bison
in Venice, forms the link between the Baroque and the Bomantic. His major decorative
work was for the Boyal Palace at Caserta.

35 Giuseppe Yaladier (1762—1839)
DESIGNS FOR CITY PLANNING

Pen and ink with bistre wash. A: 7% x 11 in. (200 x 280 mm.); B: 8 x 11 in.

(203 x 280 mm.)

Coll.: Piancastelli; Brandegee
Chiefly noted for his resourceful revision of Rome's streets and squares, Yaladier was, as
well, a designer of interior decoration, furniture, metalwork and ecclesiastical ornamen-
tation. The immediacy of effect and quick mastery of the medium in producing this effect
give to Valadier's work a Tiepolo-like sparkle.

36 Angelo Toselli (active 1780-1840)

STAGE DESIGN: A VAULTED CHAMBER

Pen and bistre ink with sepia wash. 9% x 14 in. (248 x 355 mm.)

Coll.: Piancastelli; Brandegee
Toselli, whose work represents a transition from the Baroque to the Romantic in stage-
design in Bologna, was strongly influenced by Piranesi's Prisons series of etchings. The
play of brilliant sunlight on the architecture, together with clarity and grandeur in the
forms, are characteristics seen in all of Toselli's works.

37 Giuseppe Bernardo Bison (1762—1844)

DESIGN FOB A WALL DECOBATION

Pencil, pen and ink with watercolors. n'/. x 8% in. (292 x 216 mm.)

Coll.: Piancastelli; Brandegee
Bison brings to a close the Venetian 18th-century manner of Guardi and Canaletto, and
heralds the Romantic movement. His preferred norm was the Gothic Revival style, ren-
dered in sparkling colors that reflect the Adriatic sunshine.

T 4

38 Antonio Basoli (1774—1848)

STAGE DESIGN: INTERIOR OF A ROOM
Pen and ink with watercolors. 18% x 25?'i6in. (476 x 649 mm.)
This design, a setting for a performance given in Marseilles about 1810. was published by
the artist in one of his collections. Basoli's publications show his great range of inventive-
ness and his interest in pictorial effects possible in stage design. Brilliantly colored sets
were made possible by the development, early in the 19th century, of artificial lighting
techniques.

39 Filippo Agricola (1776-1854), Attributed to
THE VIRGIN AND CHILD

Pen and brown ink with brown wash. 10% x 8 in. (274 x 203 mm.)

Coll.: Piancastelli; Brandegee
Midway in his career Agricola suffered a mental collapse, after which he produced a quan-
tity of strangely cubistic drawings that seem to reflect the manner of his predecessor, Cam-
biaso, yet anticipate by nearly a century the art of Braque and Picasso.

FRANCE

40 Jacques Androuet Du Cerceau, the Elder (1510/12—1585)
PERSPECTIVE RENDERING OF THE CHATEAU DE VERNEUIL

Pen and ink with ink and blue washes. 16% x 21% in. (429 x 549 mm.)
Coll.: Destailleur; Decloux

The building of Verneuil (on the river Oise), begun about 1565 and finished about 1600,
was considered by Du Cerceau his most important private undertaking. This masterful
drawing, with slight changes, served as a plate in his work, Les Plus excellents hastiments
de France (1576). •

Bibl.: H. de Geymiiller, Les Du Cerceau, 1887, pp. 82-88; C.U.M. Chronicle, Vol. I,
No. 3, 1937, p. 86; C.U.M. Illustrated Survey, 1957, p. 18.

Catalogue Number 40

41 Leonard Chailleat (also called Chaillat de Souplesse, or Sciaja) (active 1640-1650)
SKETCHES OF ALTAR RETABLES

Pen and ink with brown wash. A: 6'/ 8 x 4 3 / 8 in. (155 x m mm.); B: 6% x 4 1 /* in.

(159 x 108 mm.); C: 6% x 314 in. (162 x 089 mm.); D: 6% x 4% in. (175 x 114

mm.); E: 6'/ 8 x 3% in. (155 x 092 mm.)

Coll.: Piancastelli
A Frenchman by birth, Chailleat went to Perugia to live about 1640. His drawings, most
of which seem to come from dismembered sketchbooks, are marked by a calligraphic
quality and concern for detail.

42 Pierre Puget (1622-1694)

DESIGN FOR A ROYAL FRENCH GALLEY, SEEN FROM THE STERN

Pen and ink with grey wash on vellum. 15 x 13% in. (381 x 343 mm.)

Coll.: Decloux
Since he was personally disliked by Colbert, Puget was more active in designing the dec-
orations for Louis XVI's all-powerful fleet than in providing marble sculpture for the
King's gardens. He devoted the major portion of his life to such vanished glories as he
here designed for the stern of a royal galley; this example probably dates about 1 668-1 66g.
Puget was obliged always to submit his drawings (usually on vellum) to Colbert for final
approval.

Bib].: C.U.M. Chronicle, Vol. II, No. 4, 1952, p. 102.

43 Antoine Watteau (1684—1721), Attributed to

DESIGN FOR A DECORATIVE PANEL, TESTE BACCHIQUE'

Pencil, red chalk and white heightening on brown paper (squared off for transfer).

24 3 / 8 x i4 3 / 8 in. (619 x 365 mm.)

Coll.: Destailleur; Decloux

This design might be a sketch for a painted panel, one of a set of four, said by Mariette to
have been commissioned by M. Chauvelin, Keeper of the Seals. These panels were en-
graved by J. Moyreau. From 1704 to 1709 Watteau devised similar decorations for the
houses of his teachers, Gillot and Claude Audran.

44 Gilles-Marie Oppenort (1672-1742)
DESIGN FOR A WALL ALTAR RETABLE

Pen and ink. 16% x 8% in. (419 x 2ig mm.)

Coll.: Destailleur; Decloux
Of the five altars designed by Oppenort, this drawing most closely resembles that for
St. Germain-des-Pres (1704), a free-standing structure that no longer exists. In these
works Oppenort was inspired by Bernini's similar Paris commissions.

45 Gilles-Marie Oppenort (1672—1742)

PRELIMINARY DESIGN FOR THE SALON D'ANGLE OF THE PALAIS
ROYAL, PARIS

Pencil, pen and ink with watercolors. 22% x 16% in. (578 x 428 mm.)
Coll.: Decloux

Of this work, that dates about 1715, Kimball says, "Limited as it was by structural con-
siderations, the form of the salon . . . embodies a new and exceptional treatment of spatial
form, more fluid than anything attempted in France either before or after . . ." The room
has long since been destroyed..

Bibl.: F. Kimball, The Creation of the Rococo, 1943, p. 121; L. Hautecoeur, His-
toire de I' Architecture classique en France, Vol. Ill, 1950, p. 7.

46 Jean-Bernard-Honore Turreau (called Toro) (1672—1731)

DESIGN FOR A FRONTISPIECE: 'VENUS, ACCOMPANIED BY CUPID,
CALLS FOR THE WEAPONS OF AENEAS AT THE FORGE OF VULCAN'

Pencil, pen and ink with ink wash. 18 x \z 3 /u in. (457 x 310 mm.)
Coll.: Decloux

Although Toro designed a number of similar frontispieces for his various suites of orna-
ment, no engraving is known to have been taken from this particular example. Toro's
drawings and engravings reveal a high degree of finesse in ornamental design.

47 Francois Verdier (1651-1730)

THE FAMILY OF DARIUS BEFORE ALEXANDER

Pen and irlk with brown wash and white heightening on brown paper. 10% x 14%
in. (264 x 565 mm.)
Coll.: Hewitt

Verdier had aspirations to be a historical painter, but his antiquated style found little
favor with 18th-century French taste then developing, and he was obliged to sell his
drawings on the street-corners of Paris. As a consequence, he was extremely prolific, and
a quantity of his drawings have survived to this day.

48 Henri Antoine de Favanne (1668-1752)
MAENADS AND A SATYR

Charcoal and grey wash. 9^6 x 14% in. (240 x 375 mm.)
Coll.: Peoli; Hewitt

Born in London, but trained in Paris under Le Brun to paint allegories that fitted into
room decorations, de Favanne was called to Spain in 1701 to work for Philip V. Only one
other signed drawing by him is known (Louvre).

49 Gabriel Huquier (1695-1772), Attributed to
'DIVINITE CHINOIS'

Black chalk and grey wash. 10% x 15 in. (260 x 381 mm.)
Coll.: Decloux

This drawing is One of a series by Huquier after Watteau, published about 1729 or 1730.

50 little is known about Huquier's manner of drawing that an attribution to him must be
only tentative. The creator of this drawing was obviously a sensitive draftsman, though
not of the genius of Watteau.

Bibl.: E. Dacier and A. Vuaflart, Jean de Jullienne et les Graveurs de Watteau . . . ,
1929, Vol. Ill, p. 68.

50 Hubert Francois Bourguignon (called Gravelot) (1699—1773)

DESIGN FOR THE FRAME SURROUNDING THE PORTRAIT OF SIR
FRANCIS 1 WALSINGHAM

Pen and ink with grey wash. 14% x g}{ s in. (375 x 232 mm.)
Coll.: Destailleur; Decloux

The engraving fdr which this design was intended was published in Birch's The Heads of
illustrious persons of Great Brittain . . . , London, 1745. This was but one of an enormous
number of works done by Gravelot during his thirteen-year sojourn in England. The
drawing is dated 1738.

51 Jean-Baptiste Oudry (1686-1755)
STILL LIFE WITH FISH AND PARROT

Black and white chalks on blue paper (faded green). 12% x lS'Msin. (308 x 402mm.)
Coll.: Andreossy; de Goncourt; Beurdeley; Dreifuss; Hewitt

Possessing remarkable dexterity both in draftsmanship and in the arrangement of still-life
compositions, Oudry was in continual demand by the Royal tapestry works at Beauvais.
He probably had some decorative work in mind when composing this drawing in 1740.
Bibl.: J. Locquin, Catalogue Raisonne de VOeuvre de Jean-Baptiste Oudry. 1912,
p. 109, No. 573; C.U.M. Chronicle, Vol. II, No. 4, 1952, p. 105. .

52 Charles Huttin (1715—1776), Probably

DESIGN FOR THE MAIN PORTAL OF THE TEMPLE OF HYMEN,
ERECTED IN THE PLACE DAUPHIN, PARIS, IN CELEBRATION OF
THE FIRST MARRIAGE OF THE DAUPHIN

Black chalk, pen and ink with water-colors. 17^6 x I2 13/ i6 in. (456 x 325 mm.)
Coll.: Decloux

This portal gave entrance to an elaborately decorated pavilion in which refreshments were
served. There were thirteen structures set up in Paris for this festival, which took place
February 23—26, 1745, and which, like many such royal fetes, was duly commemorated
in a handsome book of engraved plates.

53 Germain Boffrand (1667-1754)

DESIGN FOR THE WALL ELEVATION OF THE BEDROOM OF THE
PRINCE DE ROHAN, IN THE HOTEL SOUBISE, PARIS
Pencil, pen and ink with watercolors. 11% x 20% in. (289 x 524 mm.)
Coll.: Lechener; Decloux
Boffrand undertook this work in 1735—1736; it was his last important commission. In the
belief that this drawing was prepared merely for the engraver of Boffrand's L,ivre d : Archi-
tecture (pi. LXI), published when Boffrand was seventy-eight years old, Kimball suggests
that it was the work of a younger assistant; but the casting of a second set of shadows in
the direction required for the engraved plate indicates that the drawing had been executed
at an earlier date.

Bibl.: F. Kimball, The Creation of the Rococo, 1943, pp. 178—179.

54 Edme Bouchardon (1698-1762)
STUDY OF A CHILD'S HEAD

Red chalk. 8% x 10% in. (222 x 273 mm.)

Coll.: de Bizemont Puonele; Peoli; Hewitt
Bouchardon is particularly noted for his sculpture of children. By his interpretation of
the subject, his work is the equivalent in sculpture of that of Boucher in painting.

*~ ftinc. ovale Jl qza/idcutx \

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Catalogue Number J(

55 Jacques de Lajoue (1686-1761)

DESIGN FOR AN ORNAMENTAL DECORATION

Pen and ink with ink wash. 7 x 18^6 in. (178 x 465 mm.)
Coll.: Decloux

Lajoue is considered one of the progenitors of the Rococo style in France. The rather flat
character of this design suggests that it might have been intended for an engraved or
simple repousse decoration on a silver box top.

56 Unknown Artist (active about 1750—1760)
DESIGN FOR A TUREEN AND UNDER-PLATE

Pencil and opaque watercolors. 20% x I3?'i6in. (524 x 346 mm.)
Coll.: Piancastelli; Brandegee

This design, done for the Sevres porcelain factory, shows the great care that went into the
creation of such pieces. The precise object for which this design was intended has not
been discovered, though in the Cooper Union Museum's collection are similar designs that
are related to known pieces.

Bibl.: C.U.M. Chronicle, Vol. II, No. 4, 1952, p. [110].

57 Francois Boucher (1703—1770)
HEAD OF AN ORIENTAL,

Black and red chalks (mounted). i3 7 /s x lo'^in. (352 x 275 mm.) (drawing)
Coll.: Glomy; Peoli; Hewitt

Boucher made a number of such drawings, some that were engraved in the newly-invented
crayon manner, while others were framed as decoration. Jean-Baptiste Glomy, Boucher's
frame-maker, prepared the mount for this drawing. No engraving of it seems to exist.

58 Giovanni Niccolo Servandoni (1695-1766)
A RUIN FANTASY

Charcoal and black wash. 13% x 8% in. (342 x 223 mm.)
Coll.: Decloux

A Florentine by birth, Servandoni became a thorough Francophile through his extended
activity as a designer of court festivals in Paris. The attribution of this drawing to him is
based on a like example, signed and dated 1762, in the National Library at Rio de Janeiro.

59 Jean-Charles Delafosse (1763-1789)

DESIGN FOR A DECORATIVE EWER

Pen and ink with ink wash . g ! / 2 x 5% in. (241 x 405 mm.)
Coll.: Decloux

Delafosse made many such designs for wholly improbable pieces of furniture, published
in his studies of ornament that served as inspiration for other decorators, who derived from
his flashing genius the lesser portions that met their own needs.

60 Jean-Charles Delafosse (1734-1789)
A MASQUERADE

Pen and ink with watercolors. 12% x 15% in. (307 x 400 mm.)
Coll.: Decloux

During the 1760's and 1770's a number of public pleasure palaces were built in Paris,
none of which long survived the cost of upkeep and the fickleness of the public favor.
Delafosse's view may show the Colisee, erected in the Champs-Elysees in 1769, but de-
molished prior to the Revolution.

Catalogue Number 6j

61 Unknown Artist (active about 1770)

DESIGN FOR THE DECORATION FOR A ROYAL FRENCH BALL

Pencil, pen and ink with watercolors. I2y 2 x 22^6 in. (318 x 583 mm.)
Coll.: Decloux

Marie-Antoinette was married to the Dauphin, the future Louis XVI, in May, 1770, and
during the following three years a great number of balls were given in their honor. This
particular decoration may have been for one given in the Grand Trianon, often used for
such purposes, though Mademoiselle Marguerite Jallut, Conservateur du Musee de Ver-
sailles, declares this drawing must date from 1780 to 1785 at the time when the Queen
was having wooden pleasure houses run up for entertainments.

62 Henri Salembier (1753-1820)

DESIGN FOR A CEILING DECORATION

Pen and ink with grey wash, g 1 ^ x 16% in. (252 x 425 mm.)
Coll.: Decloux

Salembier's ornamental designs were a decided influence on the formation of the Louis XVI
style. His distinctive vocabulary consisted chiefly of acanthus leaves and tendrils, with an
occasional human figure. The subject here may represent Minerva and four Virtues.

63 Francois-Joseph Belanger (1744—1818)

WALL SCONCE AND TWO ANDIRONS FOR THE CHATEAU DE
BAGATELLE, PARIS

Pen and ink with yellow and blue watercolors. ?}{
Coll.: Decloux

x 1 1^6 in. (180 x 287 mm.)

In 1777 the comte d'Artois had Bagatelle completely rebuilt by Belanger, work carried out
in sixty-four days in order to win his bet with Marie-Antoinette, his sister-in-law. The,
monogram "M A" is a tribute to her; Artois had it repeated many times over in the dec-
oration of this little pleasure-palace.

Bibl.: C.U.M. Chronicle, Vol. I, No. 4, 1952, p. 112.

. . . Mar^chal (active 1780)

WINDOW WALL WITH TAPESTRY FOR THE HOTEL OF BARON

CRAON

Pencil, pen and ink with watercolors. 15% x 20% in. (400 x 524 mm.)

Coll.: Pichon; Decloux
This project might relate to later decoration of the Hotel Beauveau-Craon (today the
Palace of Justice) in Nancy, capitol of Lorraine, built earlier in the century by the archi-
tect, Boffrand. Marechal's name appears on a number of designs for interiors, although
nothing specific is known about his activity.

65 Richard de Lalonde (active about 1780-1796)

TWO DESIGNS FOR GILT BRONZE KEY PLATES

Pen and ink with ink wash. 6y 2 x 1 1 in. (165 x 280 mm.)

Coll.: Decloux
This drawing was published in Lalonde's XXl e Cahier (about 1780). The engravings
seem to have served as inspiration for decorators who worked for Louis XVI and Marie-
Antoinette. A bronze key plate, possibly made after these designs, is in the Cooper Union
Museum's collections.

Bibl.: C.U.M. Chronicle, Vol. II, No. 2, 1950, p. 42.

mm.)

66 Jean-Baptiste Pillement (1728-1808)
CHINOISERIE FANTASY

Pencil (leaf from a sketchbook). 7 7 / 8 x 11% in. (200 x 2E
Coll.: Hewitt

Pillement's design in the style chinois supplied an inexhaustible source of fanciful ideas for
the patterning of textiles and wallpapers, the illustrating of books, and all kinds of other
decoration. He and his English wife, Anne Allen, etched many of his designs in delicate
colors. This fantasy is obviously inspired by the contemporary fad for aeronautics.
Bibl.: M. Benisovich, in Gazette des Beaux-Arts, 1952, p. 124.

67 Pierre Ranson (1736-1786)

SIX TROPHIES WITH THE ATTRIBUTES OF GARDENING

Pencil, pen and ink with opaque watercolors. 10% x 8 in. (270 x 204 mm.)

Coll.: Decloux
Ranson's chief efforts were in devising ornamental motifs, to be engraved, and thus in-
spired less talented decorators. This sheet of designs was published about 1780 in his Premier
Cahier de Trophies . . . , pi. 4.

Catalogue Number

68 Mademoiselle Montalon (active about 1785)

DESIGNS FOR EMBROIDERED WAISTCOATS

Pencil and opaque watercolors. A: 15% x 10% in. (345 x 260 mm.); B: 11% x

7% in. (295 x 190 mm.)

Coll.: Hewitt
This designer, whose name only we know, worked for an establishment probably located
in or near Lyons, known as the Fabrique de St. Ruf. These designs show the infinite
pains that went into the successful creation of so temporary an article as clothing in the
18th century.

Bibl.: C.U.M. Chronicle, Vol. II, No. 8, 1956, p. [246], 247.

69 Hubert Robert (1733-1808)

A FOUNTAIN AND A STATUE IN A PARK

Red chalk. 13 Me x 17% in. (341 x 438 mm.)
Coll.: Hewitt

In his interpretation of Rome's grandeur, Robert combines the lyrical qualities of Frago-
nard with the archaeological exactitude of Panini, both of whom he knew intimately
during his lengthy Italian sojourn (1754-1766). From its date (1788, written in the artist's
hand on the verso), one can see that he, too, found it hard to forget Italy.

Catalogue Number ji

70 Charles de Wailly ( 1 729-1 798)

SECOND PROJECT FOR THE PULPIT OF SAINT-SULPICE, PARIS

Black chalk, pen and ink with watercolors. z&Yk, x 18% in. (678 x 473 mm.)
Coll.: Berard; Decloux

Gaillard has recently proved this design to be one of two ordered by the due d'Aiguillon
in 1789. De Wailly's conception is bold and original, but the pulpit was not constructed
according to this design, which no doubt was considered a bit too flamboyant for late 18th-
century French taste.

Bibl.: G. Gaillard, in Bulletin de la Societe de V Histoire de V Art Francais, 1958^.146.

71 Jean Pierre Louis Laurent Houel (1735-1813)

PROJECT FOR A PUBLIC MONUMENT

Pencil, pen and ink with brown washes. 11% x 9 ha in. (285 x 230 mm.)
Coll.: Decloux

This perfectly delightful draftsman and engraver designed all kinds of projects from
triumphal columns to illustrations for a book on elephants. In the engraving of about 1802,
made from this drawing, Houel indicated that the monument had been proposed for erec-
tion in a Paris square, where at this period of national elation it would surely have seemed
at home.

72 Constantin Guys (1805-1892)

'LA PRESSE'

Pen and ink with watercolors. 9 x 6% in. (229 x 168 mm.)
Coll.: J.I. R.; Peoli; Hewitt

For a time Guys worked as a magazine illustrator. This cartoon was published in the
Illustrated London News, for April 1, 1848, with the caption: "This is a sketch from one
of the Boulevards — a newsman — shouting Hernandez la Presse, one of the most popular
organs of the new state of things in France ..."

Bibl.: L. Goodrich, in The Arts, March, 1926, p. 124; C.U.M. Chronicle, Vol. I,
No. 5, 1939, p. [169].

73 Constantin Guys (1805-1892)

ON A SQUARE IN A SPANISH TOWN

Pen and ink with watercolors. 10% x 7 1 ?'i6 in. (274 x 199 mm.)
Coll.: Picot; Peoli; Hewitt

One of the many drawings by Guys of Spanish subjects, this shows his apparent pleasure
in representing the demi-monde and similar subjects that seem to have certain affinities
to the art of Goya.

74 Eugene-Samuel Grasset (1841—1917)

DESIGN FOR A BELT-BUCKLE

Pencil, opaque watercolors and white heightening on buff paper. 12^16 x 9% in.
(325 x 248 mm.)
Coll.: H. Vever

Designed for a piece shown in the Paris Exposition of 1900, this example of Grasset's
jewelry design shows one artist's interpretation of the style art-nouveau by the audacious
combinations of closely harmonizing colors and a reversion to earlier artistic cultures as
reflected by his choice of decorative elements.

Catalogue Number yj, B

75 Hector Guimard (1867-1942)

PERSPECTIVE RENDERINGS OF DESIGNS FOR VILLAS

Pencil, pen and ink on tracing paper. A: ioy 2 x 9/ie in. (266 x 243 mm.); B: I2y 8

x 12 in. (307 x 305 mm.)

Coll.: Madame H. Guimard
These designs (of about 1900-1904) for suburban villas are typical works of Guimard,
under whom the style art-nouveau in France reached its full flowering. This architect
also had all interior fittings carried out after his design, in order to achieve total unification
of design.

Bibl.: C.U.M. Chronicle, Vol. II, No. 6, 1954, p. 188.

GERMANY, AUSTRIA AND SWITZERLAND

76 Wenzel von Olmiitz (active 1481-1498), Attributed to

DESIGN FOR A SILVER CENTREPIECE

Pen and ink with yellow wash (mounted). i6y 2 x 9% in. (419 x 248 mm.) (mount)
This object was ordered to commemorate the union of two important Augsburg families,
the Pfister (circle and stars) and Herwarth (owl), in 1498. The drawing may have served
for the engraver as well as for the goldsmith. Von Olmiitz's chief activity as a silversmith
was in Nuremberg.

Bibl.: C.U.M. Chronicle, Vol. II, No. 4, 1952, p. 97; C.U.M. Illustrated Survey,
J 957. P- !5-

77 Hans Kaspar Lang, the Elder (1571-1645)

DESIGN FOR A STAINED GLASS WINDOW WITH THE SUBJECT OF

'GRAMMAR'

Pen and ink with bistre wash. 11% x 7% in. (295 x 188 mm.)

Coll.: D. Veith; Schindler; Decloux
Little is known about the work of this member of the Lang family, glass designers and
painters active in Bern and Basel. Similar designs, with the same subject, attributed to the
elder Lang, are in the Oeffentliche Kunstsammlung, Basel. This design is dated 1606.

78 Johann Paul Schor (1615-1674)
DESIGNS FOR STATE COACHES

Pen and ink with grey wash. 8% x 6% in. (223 x 168 mm.) (each)

Schor's principal activity was in Rome (1648—1674), where he was associated with both
Bernini and Pietro da Cortona. A number of state coaches were carried out after his designs.
The figure in the right hand design has been lifted directly from Bernini's Truth Unveiled
(completed in 1652).

79 Paul Troger ( 1 698-1 762)

BACCHANAL WITH PUTTI AND A HERM

Pen and bistre ink. 12% x 7 1 jH[j in. (311 x 202 mm.)
Coll.: Peoli; Hewitt

Between 1716 and 1725 Troger spent much time in Italy, studying in particular the works
of the Venetian painters. This drawing, dated about 1720—1725, comes from a sketchbook
like many by Troger, and is distinguished by a preference for parallel strokes and rhythmi-
cally curving lines. Troger's later drawings show greater freedom.

Catalogue Number j6

2 5

80 Johann Gottfried Eichler, the Younger (1715-1770)
DESIGN FOR A TITLE PAGE OR FRONTISPIECE

Pen and ink with grey wash. 24% x 17% in. (625 x 454 mm.)

Coll.: Peoli; Hewitt
This design, dated 1742, is for either a title page of a book about Marie Theresa, or a frontis-
piece of a book dedicated to the Empress. Eichler was active in Nuremberg and Augsburg,
as well as in Vienna, and devised many such elaborate book decorations.

81 Johann August Nahl, the Elder (1710-1785), Attributed to
DESIGN FOR A FIREPLACE WALL ELEVATION

Pencil, pen and ink with watercolor washes. 15% x 8% in. (597 x 219 mm.)

Coll.: Decloux
This drawing, formerly attributed to Cuvillies, shows strong affinities to Nahl's work in
Potsdam, particularly to the library of Schloss Sanssouci, dated 1745. With Hoppenhaupt,
he is considered one of the great native German ornamentists.

82 Johann Wolfgang Baumgartner (1712-1761), Attributed to
DESIGN FOR A DETAIL OF AN ENGRAVED DOCTOR'S THESIS

Black chalk, pen and ink with ink washes on grey-blue paper. 13% x 11% in.

(355 x 3 00 mm -)

Coll.: Parsons and Sons; R. Berliner

The Austrian, Baumgartner, worked many years for Augsburg publishing houses. Devis-
ing elaborate decoration for theses became a principal occupation for many ornamental
designers of the period in Germany.

83 Johann Michael Hoppenhaupt, II (1709-about 1755)
DESIGN FOR A CABRIOLET

Pencil, pen and ink with watercolors. 15 x 20 in. (330 x 508 mm.)

Coll.: Piancastelli; Brandegee
It was the designs of Hoppenhaupt and his contemporary, Habermann, that created the
uniquely German type of cabriolet, with umbrella. This became the most fashionable
type of conveyance during the mid- 18th century in Germany, a fashion that was carried
to Italy, but never took hold in France.

84 Johann Esaias Nilson (1721-1788)

DESIGNS FOR THE FRAMES OF THE PORTRAITS OF EMPEROR
FRANZ I, AND EHRICH CHRISTOPH, BARON PLOTHO

Pencil, pen and ink with grey wash (mounted). 12^6 x ioy 8 in. (329 x 258 mm.)

(each mount)

Coll.: Decloux
Nilson made a prodigious number of etchings as book illustrations and ornamentations,
but comparatively few of the drawings for them remain today. These delicately executed
designs show Nikon's inventive ability in a Rococo style typically German. The etchings
made from these designs were published in Augsburg in 1759.

85 Joseph Sebastian Klauber (1700-1768), Johann Baptist Klauber (1712-1787),
or Gottfried Bernhard Goetz (or Goz) (1708-1778); frames by Victor Duflot (died
about 1920)

DESIGNS FOR DEVOTIONAL PICTURES: 'TRANSGRESSIONS AGAINST
THE HOLY SPIRIT' and 'CHRIST APPEARING TO SAINT IGNATIUS
LOYOLA'

Pencil, pen and ink with ink wash and white heightening. 7% x 5% in- (19° x
144 mm.) (each; including frame)

The joint activity of the brothers Klauber and Goetz met the demand for small devotional
pictures with complicated and obscure iconography, many of which were published in the
Annus Sanctorum, in Augsburg, about 1770. It is impossible today to single out the indi-
vidual styles of these artists.

86 Christoph Heinrich Kniep (1755-1825)

MELANCHOLY

Pencil (mounted). 9% x 13% in. (248 x 550 mm.) (drawing)

Coll.: Piancastelli; Brandegee

By his meticulous drawings Kniep expresses the essence of German romanticism, as in-
terpreted by Goethe, whom he accompanied to Sicily in 1789. This drawing, done in
Naples, is dated 1824.

87 Josef Kornhausel (about 1782—1860)

PROJECT FOR A TRIUMPHAL ARCH IN HONOR OF GENERAL
SKRZYNECKI

Pencil, pen and ink with watercolors on blue paper. 19% x 20% in. (489 x 716mm.)

This design was undoubtedly inspired by the brief victories of General Jan Zygmunt
Skrzynecki (1787-1860), in 1851 Commander-in-Chief of the revolutionary Polish army,
but it cannot be learned that the monument was ever erected; the year following, Skrzy-
necki began losing battles.

Catalogue Number 82

\ I

Catalogue Number 90

FLANDERS AND THE NETHERLANDS

88 Jan van der Straet (called Stradanus) (1525-1605)

A: ELEPHANTS ATTACKED BY THE TROGLODYTES; STAG HUNT
B: STUDIES FOR THE SILKWORM INDUSTRY

Pen and bistre ink with bistre wash. A: 8?{6 x 6 3 At in. (218 x 158 mm.); B: 5%
x 7% in. (150 x 200 mm.)
Coll.: Piancastelli

These two quickly-sketched sheets (of about 1578 and 1590, respectively), of over three
hundred in the Cooper Union Museum's collection, illustrate episodes in Pliny's History
of the Hunt (I'enationes . . .) and the Silkworm Industry (f'ermis sericus), sent by the
artist from Florence, where he was employed by the Medici, to Antwerp for publication.
Bibl.: C.U.M. Chronicle, Vol. II, No. 4, 1952, p. 99; M. Benisovich, in The Art
Bulletin, 1956, pp. 249-251.

89 Lodewyk Toeput (called Pozzoserrato) (1550-1605/5)

FANTASTIC LANDSCAPE

Pen and bistre ink with bistre wash. 6% x 10% in. (165 x 270 mm.)
Coll.: Piancastelli; Brandegee

Though Flemish by birth, Pozzoserrato's principal activity was in Venice, though later he
moved first to Florence, then to Rome. His strange, fantastic landscapes vaguely recall
those by Titian and the Bassano, into which he introduced incidental episodes, a man-
nerism typically Flemish.

90 Adam (I) van Vianen (1570-1627), Attributed to

DESIGN FOR A DECORATIVE EWER

Black and white chalks on brown paper. 16% x 1 1 7 / 8 in. (416 x 502 mm.)

Coll.: Ogden Codman
Van Vianen, a goldsmith, in 1614 gave to the City of Amsterdam, in memory of his brother,
a ewer of design closely similar to this drawing. The drawing may have served, as well,
for one of the four lost plates of the artist's engraved works, published in 1652—1654 by
his son. The cartilage-like form of the decoration is typical of Flemish and Dutch Man-
nerist ornamentation of the period.

91 Romeyn de Hooghe (1645-1708)

DESIGN FOR A WALL PAINTING: A GARDEN SCENE

Pen and ink with bistre wash. 12% x 10^6 in. (508 x 278 mm.)
Coll.: Goldsmid; Bagellar; Peoli; Hewitt

The versatile de Hooghe was famous equally as a painter, engraver, sculptor, goldsmith
and medallist. His best known works are the allegorical paintings that decorate a number
of Dutch town halls, carried out from 1687 to 1695; this drawing may be a sketch for such
a decoration.

92 Daniel Marot (1665-1752)

DESIGN FOR A DUTCH STATE COACH

Pen and ink with red and yellow watercolors. 15% x 10^6 in. (545 x 275 mm.)

Marot, after initial experience as architect to the Dutch State, was called across the Channel
to England in 1695 by William III, who, as William of Orange, had made the same journey
in 1689. In England off and on for seven years, Marot there and in the Low Countries was
considered the most inventive of the ornamental designers of his period.

2 9

ENGLAND

93 Sir James Thornhill (1675—1734)

DESIGN FOR A PAINTED WALL AND ADJOINING CEILING

Pen and ink with grey wash. 15% x 7% in. (404 x 200 mm.)
Coll.: A. Daly; Mrs. C. B. Alexander

The allegory represented in this drawing is The Palace of Lycomedes, on the ceiling,
while the scene below shows Achilles Revealing His True Identity. It was Thornhill's
habit to repeat his compositions, with minor changes being made only to the figures. For
instance, in many ways this scheme resembles that of the famous Painted Hall of Green-
wich Hospital (of 1708—1728), that shows The Apotheosis of William and Mary.

94 Thomas Chippendale (1718—1779)
DESIGN FOR A LIBRARY BOOKCASE

Pen and ink with grey wash. 8%6 x 13 in. (218 x 330 mm.)

Chippendale, whose range of furniture design naturally comprehended the passing fancy
for the Gothick, published this design only in the third edition of his work, The Gentleman
and Cabinet-Maker' s Director . . . , 1762. The signature, which oddly enough appears to
be authentic, is one of the two that are now known.

Bibl.: C.U.M. Chronicle, Vol. II, No. 4, 1952, p. 106.

95 Frederick Crace (1779-1859), or Shop

DESIGN FOR THE WEST WALL OF THE MUSIC ROOM OF THE
ROYAL PAVILION AT BRIGHTON

Tempera and watercolors. 13% x 20^6^.(336 x 513 mm.)

One of seventy-eight drawings for the Royal Pavilion by Crace and his associates in the
Cooper Union Museum's collection, this scheme shows the taste of the Prince Regent
(later George IV) in the final phase, toward 1820, of this capricious undertaking, which
began with Holland's more sober design in 1788.

Bibl.: E. M. Bloch, in The Connoisseur, June, 1953, p. 131.

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Catalogue Number 94

3°

UNITED STATES

96 Frederic Edwin Church (1826-1900)
NIAGARA FALLS IN WINTER

Pencil with rose and white heightening on light hrown paper. 12 x 17% in. (305 x

448 mm.)

Coll. of the artist; Louis P. Church
Church made a number of visits to this spot from 1849 to 1857, preparatory to his large
painting (Corcoran Gallery, Washington) by which his reputation was made. In the
Cooper Union Museum are many similar drawings and oil sketches showing this scene in
a variety of moods and seasons. The artist dated this drawing March 21, 1856.

97 William Stanley Haseltine (1835-1900)
'BRUGES'

Pencil, black and white chalks and grey wash on blue-grey paper. 15 x 22>/ 8 in.

(381 x 560 mm.)

Coll.: Helen Haseltine Plowden
Mrs. Plowden relates that her father executed this sensitive drawing in a half-hour, while
waiting for a train. Known as a "pre-impressionist," Haseltine was one of a number of
American artists who, settling in Italy, imbued their works with a richness inspired by
close association with Old World cultures. This drawing probably dates between 1870 and
1880.

98 Thomas Moran (1837-1926)

CLIFFS OF THE RIO VIRGIN, SOUTH UTAH

Pencil and watercolors with white heightening. 8% x i3 7 / 8 in. (220 x 353 mm.)

Coll. of the artist
It was from drawings like this example that Moran composed his larger, more complicated
paintings in oil, that often convey less convincingly the effects of atmosphere and light so
apparent here. Moran dated his drawing 1875.

99 Winslow Homer (1836-1910)
STUDY FOR 'THE LIFE LINE'

Charcoal. I7y 2 x 14% in. (445 x 380 mm.)

Coll.: Charles Savage Homer
The fury of the sea is felt more keenly in this drawing than in the finished painting in
oils, dated 1884, for which it is a study. Although continually experimenting in the com-
bination of techniques, Homer here prefers attaining the effect desired by means of only
one.

Bibl.: C.U.M. Chronicle, Vol. I, No. 2, 1936, p. 60.

100 Eugene Berman (1899— living)

STAGE DESIGN FOR 'AMAHL AND THE NIGHT VISITORS' FOR
THE FIRST PRODUCTION AT THE NEW YORK CITY CENTER, 1952
Pen and ink with tempera and watercolors. g 1 /* x 12 1 /, in. (245 x 518 mm.)

This final drawing of the exhibition sequence sums up the vitality and the appeal of the
Cooper Union Museum's collection of drawings, its able draftsmanship communicating
Berman's imaginative restatement, in contemporary terms, of the age-old mystery and
promise of the Christmas story.

3 1

Index

Cat.

No.

Cat. No.

Cat.

No.

Agricola

Grasset

Pillement

Barbieri (Guercino)

Guardi

3°

Puget

Basoli

Guimard

Banson

Baumgartner

Guys

7 2 , 73

Reni

Belanger

Haseltine

Robert

Berman

100

Homer

Sacchi

Bison

Hooghe

9 1

Salembier

Boffrand

Hoppenhaupt

Salviati

Bouchardon

Houel

7 1

Sangallo ■ .

Boucher

Huquier

Schor

Bourguignon (Gravelot) 50

Huttin

Servandoni

Buffagnotti

2 5

Juvarra

Sozi (Sotij)

Cantagallina

Klauber

Straet, van der

Carpi, da

Kornhausel

(Stradanus)

Castiglione

Kniep

Thornhill

Cesari (d'Arpino)

Lajoue, de

Tiepolo 28

, 2 9

Chailleat (Chaillat de

Lalonde, de

Troger

Souplesse, Sciaja)

Lang

Toeput (Pozzoserrato)

Chippendale

Marchionni

3 1

Toselli

Church

Marechal

Turreau (Toro)

Crace

Marot

9 2

Unknown Florentine

3,9

Delafosse 59

, 60

Massari

Unknown French 56

, 61

Du Cerceau

Mondo

Unknown Italian or

Duflot

Montalon

French

Eichler

Moran

Unknown Mantuan

F. A. S.

1 1

Nahl

Unknown North Italian 5

Favanne, de

Nicoletto Bosex

Unknown Roman

2 3

Fiore

3 2

Modena

Valadier

Fontebasso

Nilson

Verdier

Franceschini

Olmutz, von

Vianen, van

9°

Gentili

Oppenort

44> 45

Wailly, de

Giani

Oudry

5 1

Watteau

Goetz (Goz)

Parigi

Gozzoli

Passignano

146

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